A celebrity of his time, the composer, teacher, conductor and brilliant violinist Joseph Joachim did not hesitate for a moment in sending back, "amended", the works for violin that younger composers would send to him reverently dedicated, in order to ask for his opinion and heed his invaluable advice. The master, aware of his worth, did not merely review the solo parts but also gave his opinion on the structure of the work and its orchestration.
Joachim, Bruch and Brahms
This had been the case with Max Bruch's G minor concerto in 1865, and later with Brahms' D minor concerto of 1878. Both – Bruch somewhat more compliant than Brahms – obeyed without question and obsequiously adopted his indications. Their works were premiered by Joachim and published with the dedication clearly marked.
This was not the case with Antonin Dvorak, who took two years to respond to the modifications Herr Professor Joachim had suggested for the Concerto in A minor that Dvorak had respectfully sent him in 1879.
Dvorak and Joachim
They had met the year before. After the meeting, Dvorak began work on a violin piece intended for Joachim. As had happened with Beethoven's violin concerto – practically rediscovered by Joachim in 1844 and thereafter turned into the well-known piece of our days – Dvorak doubted that there would be another violinist capable of revealing to the European musical scene a work with such effectiveness.
Joachim's misgivingsDvorak, young (1841 - 1904)
Joachim had expressed interest in premiering the work. He would gladly do so, he said, but then added that as it was, the public would surely find it a bit coarse, "especially because of the orchestral accompaniment, which seems rather dense". He waited for a response for two years, after which Joachim invited the composer to a private premiere at the music school he directed. There, in the company of Dvorak's publisher, Joachim demanded a little more, this time encouraged by the publisher, who joined in the criticism.
Premiere, in the absence of Joachim
Dvorak, slightly exasperated, requested that the work be published immediately, to which the publisher finally agreed. The dedication to Joachim was maintained, but for the premiere another violinist had to be found, who unveiled it in Prague in October 1883. And although the work was soon as popular as Beethoven's concerto, Herr Professor Joachim never agreed to play it.
Concerto in A minor opus 53 - Movements
02:00 Allegro ma non troppo - At its conclusion, it connects without pause with the second movement.
12:14 Adagio ma non troppo
23:22 Allegro giocoso, ma non troppo - A tribute to the composer's Czech musical heritage.
The rendition is by German violinist (and also pianist) Julia Fischer accompanied by the Tonhalle Orchestra Zurich, conducted by David Zinman, on the occasion of 2014 BBC Proms. As an encore, Julia Fischer presents us with the third movement of Paul Hindemith's sonata in G minor.
